Made available in DSpace on 2014-08-20T13:20:54Z (GMT). No. of bitstreams: 1 Yussef_Daibert_Salomao_Campos_Dissertacao.pdf: 900902 bytes, checksum: 6053b26f2b46b9e7c4ff775aa0e41679 (MD5) Previous issue date: 2010-12-15 / The dissertation studies the relationship between social identity and cultural property, especially the intangible heritage one. This is carried out through the study of specific legislation, focusing on the Robin Hood Act, Minas Gerais, which deals with the transfer of state tax to municipalities that provide attention to their cultural property. The main objective of this study is highlight the social identity as a legitimizing protection of cultural heritage in all its categories and demonstrate that we should not build a pyramid hierarchy between the categories of cultural heritage, and more: that national identity is formed by a myriad of local identities, understood as concepts constructed from conflicts and disputes between these identities, which result in certain political practices. In addition, the study analyses how the law acts constructs imagined communities. This can be seen from the analysis of relevant legislation, as well as in comparison to Brazilian legislation, in particular the mining and the law of "Ciudad Autonoma de Buenos Aires", Argentina. Through this study will be seen that cultural heritage is a field of conflict between identities, and that the public practice in this area are a reflection of this standoff / Essa dissertação estuda a relação entre identidade social e patrimônio cultural, em especial o imaterial, tomando como objeto de estudo a legislação específica, com enfoque na Lei Robin Hood, de Minas Gerais, que trata do repasse de tributo do Estado aos municípios que conferem atenção aos seus bens culturais. O objetivo principal da pesquisa é apontar a identidade social como legitimadora da proteção do patrimônio cultural, em todas suas categorias e demonstrar que não se deve montar uma pirâmide hierárquica entre as categorias do patrimônio cultural; e mais: que a identidade nacional é formada por uma miríade de identidades locais, entendidas como conceitos construídos a partir de conflitos e disputas entre tais identidades, que resultam em determinadas práticas políticas. Além disto, buscará mostrar como a lei age como instrumento construtor de comunidades imaginadas. Isso poderá ser observado a partir da análise da legislação pertinente, assim como na comparação entre a legislação brasileira, em especial a mineira, e a lei da Ciudad Autonoma de Buenos Aires , Argentina. Através dessa investigação será visto que o patrimônio cultural é um campo de conflito entre identidades, e que as práticas públicas nessa área são reflexo de tal embate

A Política de Patrimônio Imaterial no Brasil foi instituída em 2000. Desde então bens intangíveis são registrados como patrimônio cultural imaterial e ao Estado cabe garantir a salvaguarda destes, assegurando continuidade, fruição e sustentabilidade. A Roda de Capoeira e o Ofício de Mestre foram registrados como Patrimônio Cultural Imaterial do Brasil, em 2008, pelo Iphan Instituto de Patrimônio Histórico e Artístico Nacional. Como preveem as políticas de patrimônio, seguiram-se as ações de salvaguarda. Em 2012, estas foram descentralizadas para as superintendências estaduais do Iphan. Em 2014, a Roda de Capoeira foi inscrita pela Unesco Organização das Nações Unidas para a Educação, a Ciência e a Cultura como Patrimônio Cultural Imaterial da Humanidade. As controvérsias públicas dos últimos anos entre Estado e Capoeira, exibem questões teóricas para antropologia e para as políticas de patrimônio. Os objetivos desta tese são compreender como os capoeiristas conceituam o termo patrimônio, como semantizam o registro e o que esperam das ações de salvaguarda. Por meio da etnografia multissituada e a partir das ações do CGSPR - Comitê da Salvaguarda da Capoeira no Paraná, realizei a pesquisa de campo em eventos de Capoeira, lugares onde as ações para salvaguarda foram desenhadas e realizavam-se, como trocas de saberes e afetos entre capoeiras, entre Iphan e Capoeira. A tese divide-se em duas partes, como forma de remontar uma roda; na primeira parte o registro, na segunda a salvaguarda, com a intenção de demonstrar as especificidades de cada um dos instrumentos de patrimonialização, como complementares em suas intenções. O registro é analisado a partir dos relatos orais dos mestres, de documentos disponibilizados pelo Iphan e da bibliografia de capoeiristas. A salvaguarda é descrita a partir das ações do CGSCPR. Nos traçados da tese revela-se como os capoeiristas semantizam o registro por meio de suas trajetórias pregressas com o Estado e suas memórias não-vividas da escravidão e da criminalização. E esperam da patrimonialização ação, razão e reconhecimento em forma de direitos. Ao conotarem o conceito de salvaguarda os mestres consideram que a Capoeira já foi salvaguardada no século XX, enquanto os mestres morreram à mingua, portanto para estes agora a salvaguarda é esperada. / The Intangible Heritage Policy in Brazil was instituted in 2000. Since then, intangible assets have been registered as intangible cultural heritage and the state is responsible for ensuring their safeguarding, ensuring continuity, fruition and sustainability.Capoeira Circle and the Craft Master of Capoeira were declared as Intangible Cultural Heritage of Brazil in 2008, by the Institute of National Historical and Artistic Heritage (IPHAN). As it is provided in the heritage policies, safeguarding actions were carried out.In 2012, these actions were decentralized to Iphan\'s state superintendencies. In 2014, Capoeira Circle was inscribed by Unesco - United Nations Educational, Scientific and Cultural Organization - as Intangible Cultural Heritage of Humanity.Public controversies of recent years between State and Capoeira, present theoretical questions for anthropology and heritage policies. The objectives of this thesis are to understand how capoeiristas conceptualize the term heritage, how they semanticize the registry and what they expect from the actions of safeguarding. Through the multisituated ethnography and from the actions of the CGSPR (Capoeira Safeguarding Committee) in Paraná, I conducted field research at Capoeira events, places where safeguarding actions were designed and carried out, as exchanges of knowledge and affections between capoeiras, between Iphan and Capoeira. The thesis is divided into two parts, as a way of reassembling a Circle, the first part is the registry, the second is the safeguarding, meaning to demonstrate the specificities of each of the instruments of patrimonialization, as complementary in their intentions. The registry is analyzed from the oral reports of the craft master of Capoeira, documents made available by Iphan and the bibliography of capoeiristas. The safeguarding is described from the actions of the CGSCPR. In the traces of the thesis it is revealed how the capoeiristas semantize the registry by means of its previous trajectories with the state and its \"memories unlived\" of the slavery and the criminalization. And, they expect from the patrimonialization action, reason and recognition in the form of rights. In connoting the concept of safeguarding, the masters consider that Capoeira was already safeguarded in the 20th Century, while the masters morrem à mingua (to die without assistance). Therefore, safeguarding is expected to these present Mestres.

Wuhan Han Opera Theater (WHOT, formerly Han Opera) is a 400-year old regional opera based in Wuhan, in Hubei Province, in China. WHOT’s recent designation as a public institution under China's neoliberal creative economy initiative to enter the global market has necessitated its transformation from a cultural institution (wenhua jigou) into a creative industry (wehua chanye). As such, WHOT must now create adaptive strategies, alter traditional conventions of performance, infrastructure, education and community presence, reconstitute traditional social functions at the national level, and most importantly, manage a relationship with the government that is entirely novel for both. In the summer of 2016, WHOT participated in two government-led projects: Opera into Campuses and the Chinese National Arts Fund. These programs were the focus of my ethnographic fieldwork, to identify possible effects of the creative economy initiative on a traditional musical institution. Specifically, inquiry was made as to whether and how creative musical and organizational adaptations were being decided, implemented and executed, and as to how the outcomes of these adaptations were being evaluated. Despite using an ethnographic approach, findings from the preliminary study were found to be much more broadly generalizable and applicable across disciplines than expected. As a result, this thesis makes the following arguments: for modernization of an institution of traditional music to be effective, a relationship must exist whereby the transitioning institution is given creative license to generate continued socio-cultural productivity through its creative class ("talent") in joint cooperation with, rather than dependence on, government agencies. The goal must be to revitalize rather than simply preserve such an institution, and to avoid cultural attrition of unique musical qualities of the institution.

The thesis aims to determine the influence on the development and preservation of traditional folk culture which had the inscription of two cultural assets, The Ride of kings and The Slovácko verbuňk, on the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO in the region of Slovácko. In general the thesis also introduces applicable regulations of UNESCO in the field of intangible cultural heritage and their application in the Czech Republic. In more detail, the thesis devotes to the process of inscription of both cultural assets on the Representative List of UNESCO, particularly to the safeguarding measures and obligations arising from it for the Czech Republic. In conclusion the thesis explains how these safeguarding measures are met, and analyzes the impact of the entry to the UNESCO for assets themselves and their recipients and for general public.

El proyecto de Centro de Interpretación de la Cultura y Arquitectura de Barrios Altos, parte de la premisa de concientizar a los ciudadanos para poder exigir la recuperación y rehabilitación de este sector del Centro Histórico de Lima. El cual está en riesgo de perder su categoría de Patrimonio de la Humanidad, concedido por la UNESCO en 1991, ya que este cuenta el 83% de su patrimonio inmueble en riesgo de colapso. Actualmente, edificios emblemáticos como El Buque, casonas de estilo republicano y edificios de valor que configuran el ambiente urbano monumental han desaparecido, por colapsos o incendios, vendiéndose los terrenos para crear almacenes o depósitos que atentan con la imagen general de esta zona histórica. Esta pérdida de patrimonio inmueble está conectada a la pérdida del patrimonio inmaterial. Barrios Altos es la cuna de la música criolla, de literatos y artistas, lo cual está siendo olvidado con el paso del tiempo. El proyecto emplazado en el centro de Barrios Altos, la Quinta Heeren, busca reconectar a la población con su historia, valores y tradiciones, utilizando el énfasis de regionalismo crítico para que la nueva arquitectura se adapte al entorno histórico que lo rodea. De esta forma se enfatizan los valores del lugar y se respeta su imagen urbana. / The project starts with the aim of raising awareness among citizens for the recovery and rehabilitation of this place of the Historic Centre of Lima. The one who is a about to lose the category of world heritage site, granted by UNESCO since 1991. Insomuch as 83% of its inmovable heritage at risk of collapse. Currently, iconic buildings such as “The Ship”, Republican-style mansions and valuable buildings that shape the monumental urban environment have disappeared, that was caused by a collapse or fire, causing the selling the land to create werehouses that destroy the overall image of this historic area. This loss of inmovable heritage is connected to the loss of intangible cultural heritage. Barrios Altos is the cradle of criolla music, writers and artists, however that is being forgotten over time. The project located in the Barrios Altos centre, Quinta Heeren, wants to reconect the population with their history, through an emphasis on critical regionalism, in order to the new architecture shall adapts to the surrounding historical environment. This way the place values are emphasized and the urban image is respected. / Trabajo de investigación

Uppsatsen undersöker den halländska bingetraditionen från 1600-talet fram till idag. Binge är ett halländskt ord för att sticka, och syftar på den sticktradition som finns där. I Halland har människor stickat sedan 1600-talet. Av nöd började man sälja stickade varor och detta utvecklades under 1700- och 1800-talen till en stor verksamhet. Under början av 1900-talet startades Föreningen Bindslöjden som nedtecknade gamla halländska mönster och anställde stickare som stickade plagg med dessa mönster på, som de sedan sålde. Uppsatsen följer sedan den halländska bingetraditionens utveckling fram till idag, då det finns många människor och flera olika föreningar samt organisationer som utövar och jobbar med den halländska bingetraditionen. Uppsatsen går även igenom hantverkets utförande och tar upp olika mönster, redskap och tekniker. Mönster som finns inom den halländska bingetraditionen är exempelvis Bjärbo, Blomster, och Krok. Även begreppet binge diskuteras i uppsatsen, då betydelsen inte är helt fastställd. Inom den halländska bingetraditionen finns det även olika uppfattningar om vad som är rätt och fel, till exempel när det gäller garnkulörer. Denna uppsats lyfter denna diskussion om vad som hör till den halländska bingetraditionen och även binge som ett immateriellt kulturarv. Det finns nämligen en målsättning att skapa en förteckning om den halländska bingetraditionen till institutet för språk och folkminnen. För att ett immateriellt kulturarv ska bevaras är det viktigt att det utövas och utvecklas, vilket kan skapa svårigheter eftersom det finns flera åsikter om vad som ingår i bingebegreppet och vad som anses som rätt och fel. Det finns även andra svårigheter, som till exempel frågan om vem det är som har rätt att uttrycka sin åsikt i bevarandefrågan. / This essay describes the tradition of binge from the Swedish province of Halland. Binge is an old word from Halland that means to knit, and refers to the knitting tradition in Halland. People have been knitting in Halland since the 17th century and the need for an income made people knit things that they could sell. The selling of knitted goods grew bigger during the 18th and 19th century and in the beginning of the 20th century an association called Bindslöjden started. They documented old knitting patterns from Halland, hired knitters that knitted items with color work of these old patterns on them. Bindslöjden then sold these knitted garments. This essay describes the tradition of binge from Halland on to this day, when there still are people and different associations that practice the tradition of binge. This essay also describes the handicraft behind the tradition of binge like the patterns, tools and techniques. Examples of color work patterns that you can find within the tradition of binge is Bjärbo, Blomster and Krok. The word binge is also discussed, because the meaning of it is not fully clarified. Because of that there are differences in what people think the word binge means and also what is right or wrong within the tradition of binge. An example of this is the different opinions about the colors of the yarn. This essay also puts focus on the discussion about what is included in the tradition of binge, and also the discussion about binge as an intangible cultural heritage. The essay focuses on the tradition of binge as an intangible cultural heritage because there is a will to submit a document about the tradition of binge to the Institute for Language and Folklore. It is important that the intangible cultural heritage is practiced and can evolve, so that the intangible cultural heritage can be preserved. This can cause difficulties since there are different opinions about what is included in the tradition of binge from the Swedish province of Halland. Another difficulty is the question of who is entitled to have an opinion about the preservation.

Virserums möbelindustrimuseum är ett arbetslivsmuseum som representerar möbelindustrin i Virserum med omnejd. Det är en ideell förening som driver museet och det föreliggande arbetet undersöker hur föreningen förmedlar det materiella och immateriella kulturarvet. Jag har tagit utgångspunkt i möbelserien som kallas Äpplet för att avgränsa mina studier i hur förmedlingsprocessen ser ut. Syftet är att synliggöra en allmänt känd möbel som tidigt på 1900-talet fanns i många svenska hem som sedan har glömts bort. En diskursanalys tillämpas för att genom utsagor ta reda på vilken betydelse Äpplet har på museet. Utställningen, hemsidan och ett urval i arkivet analyseras genom ett perspektiv som belyser aktivering av kulturarv samt arbetet i dokumentering och förvaltning av arvet som finns i museets samling. Forskningen resulterade i att Äpplets funktion på museet är liten, likaså i historieskrivningen. Museet arbetar ständigt med utveckling men stöter på hinder som engagemang från ideella krafter. / Virserum's furniture industry museum is a working life museum that represents the furniture industry in Virserum and the surrounding area. It is a non-profit association that runs the museum and the present work examines how the association conveys the material and intangible cultural heritage. I have taken my starting point in the furniture series called the Apple to limit my studies in what the conveys process looks like. The purpose is to make visible a generally known piece of furniture that was found in many Swedish homes in the early 20th century and has since been forgotten. A discourse analysis is applied to find out through statements what significance the Apple has for the museum. The exhibition, the website and a selection in the archive are analyzed through a perspective that highlights the activation of cultural heritage as well as the work in documenting and managing the heritage that is in the museum's collection. The research resulted in the Apple's function at the museum being small, as well as in the writing of history. The museum is constantly working on development but encounters obstacles such as commitment from non-profit forces.

This thesis investigates the Slow Food movement which started in Italy in the late80’s and today is an internationally spread organization with around 100 000 participants in 160 countries. The core aim within the Slow Food movement is combining everyone’s “right to pleasure” with social responsibility, summed up in their motto: “Good, Clean and Fair”. The movement is interesting from a global development perspective, since it looks at food in relation to the cultural, physical, social, environmental and political aspects of our lives, and relates to sustainability in a wide sense. In 2003, UNESCO started acknowledging so called ”Intangible cultural heritage” as a part of the common heritage of humanity, and a few years later some culinary traditions were inserted to the list. Departing from a social constructivist approach in how knowledge is constructed, combined with Pieterse’s ideas of the relation between culture and power, the key research question for the thesis is: How is the concept of Food as cultural heritage being expressed within the external communication channels of the Slow Food movement? Followed by the sub-question: How do these expressions relate to power dynamicsand to socially constructed assumptions of reality? Through a semiotic analysis, visual and textual material from Slow Food’s official websites have been analysed, using the UNESCO definition of Intangible cultural heritage as an analytical tool. The findings are that many fundamental ideas within the UNESCO definition are expressed in Slow Food’s external communication, but at the same time, that some aspects could be more highlighted in order to put a higher emphasis on the producer and the community. It is evident that Slow Food need to continuously address the critique directed towards them regarding issues of privilege and elitism, and keep a self-reflexive approach in their communication work.

在全球化的影響下，傳統與現代的衝突顯得尤為尖銳，如何保護並發展傳統的民族文化，是普遍面臨的議題。 　　侗錦產生於侗族的生活中，展現出豐富而精彩的圖案紋樣，強烈地反映了他們對生命、大自然和民族文化的熱愛和崇敬，同時也滲透著民族文化的樂觀精神、凝聚著人們對美好未來的嚮往，侗錦可以說將侗族最真誠的情感表現了出來。 　　本研究地域範疇以湖南省懷化市通道侗族自治縣的侗錦傳承區域為主，侗錦傳承區域占全縣面積60%，主要分佈在該縣之西部以及南部百里侗族文化長廊的各鄉鎮。 　　作者在通道縣以及周邊的其他侗族地區田調時間前後長達七年，對於通道縣的侗錦進行了具體的收集和整理的工作。立基於這個基礎之上，作者充分瞭解了關於通道縣侗錦藝術的形成背景、產生因素、內外的特徵以及目前的實際情況，同時也深入探討其蘊涵的文化精神、現代價值以及其在工藝美術中的運用。此外，本文也結合織錦文化資源保護的現狀，分析政府與民間所採取的傳承原則與實際方法。 　　本研究期許通過對通道侗錦的整理與分析，找出侗錦藝術存在的各種意義與價值，並希望以此引起社會對通道侗錦文化從認識進而重視、從重視進而保護與弘揚。因此本研究透過從政府保障非物質文化遺產的角度入手，對非物質文化遺產保護的具體執行層面進行探討，其中主要是探討政府應該如何扮演傳承文化主導者的角色。作者先由戰略層面探討政府對侗錦織造技藝如何保護與傳承、如何制定政策、如何復振，再由戰術層次探討政府如何組織民間所擁有的研習管道、如何強化傳承人與學習生之間的互動狀況、如何開展侗錦的未來等問題。 　　本研究最後的重點聚焦於侗錦文創可能性的分析。侗錦展演如何在各項文化體驗活動中展現其潛力，俾便達成藝術生活化的可能性？侗錦文化如何以文化創意產業的型態經營，俾能超越地域性的侷限?當大眾聚焦在文創產品的真實性議題的時候，如何藉之促成族人對於侗錦文化認同的差異性，以及侗錦如何在村寨形成傳承認知的效應?侗錦藝術是否能夠活化通道縣侗錦文創產業的契機，進而提升侗錦文化發展的主體性? 　　本研究最終期待透過這樣以學術性的方式，探討侗錦非物質文化遺產的生存與發展現狀，提供侗族在進行適度保護性旅遊與再利用政策的時侯，將這一項國家級的非物質文化遺產推向市場、推向國際。

L’objectif de ce mémoire est de porter un regard critique sur l’exposition du patrimoine culturel immatériel kanak, dernièrement proposée au musée du quai Branly. Ayant pour objet de corriger l’élitisme de l’eurocentrisme, le postcolonialisme est un courant de pensée qui vise à repositionner les acteurs et enjeux marginaux. Interdisciplinaire, le discours postcolonial suscite une pluralité de perspectives pour inclure la voix des « autres ». Dans notre étude, nous choisissons de traiter du propos dans un cadre singulier. Notre approche se consacrera à l’interprétation de l’ « autre » par le musée du quai Branly, de manière à comprendre comment, aujourd’hui, la particularité du patrimoine culturel kanak y est exposée. Ce mémoire se propose d’effectuer un retour sur la venue du quai Branly dans le cadre de quelques problèmes récurrents concernant la perception et le traitement de l’objet nonoccidental, retour qui semble nécessaire à l’établissement d’un bilan sur les pratiques expositionnelles du patrimoine culturel immatériel dans l’exposition « Kanak. L’art est une parole ». Pour ce faire, les enjeux soulevés seront abordés dans les perspectives de l’histoire de l’art, de l’anthropologie et de la muséologie. Par la muséographie qu’il met en place, le musée fait part au public de son parti-pris quant au discours didactique qu’il souhaite lui transmettre. Les choix effectués pour la mise en exposition et sa contextualisation expriment la définition que le musée donne aux objets qu’il contient. Le musée du quai Branly est un cas particulier. Promu au rang de musée d’ « art premier » à son ouverture, il expose des objets ethnographiques venus d’Afrique, d’Océanie, des Amériques ou encore d’Asie pour leurs qualités esthétiques. Loin de nos préceptes occidentaux, la difficulté de ce musée est de rendre compte de l’histoire de ces objets. L’exemple de l’expression artistique kanak soulève le fond du problème dans la mesure où elle prend forme à travers des ressources orales. / The goal of this thesis is to propose a critical point of view about the exhibition of the kanak intangible cultural heritage, recently offer at the musée du quai Branly. It’s with a postcolonial point of view, which the subject will be approached. Designed to correct the elitism of eurocentrism, postcolonialism is a school of thought that seeks to reposition the fringe players and challenges in the international arena. Polysemic, postcolonial discourse creates a plurality of perspectives including the voice of the “other”. In our study, we choose to approach this subject with a particular viewpoint. Our approach will devote to the interpretation of the “other” in the musée du quai Branly to understand what, today, exposed the particularity of kanak cultural heritage. This thesis proposes to do a feedback on arrival of the musée du quai Branly througt many recurring questions about perception and handling of the non-western object. This feedback seems to be necessary to make a balance sheet on exhibitionary process of the intangible cultural heritage in the exhibition “Kanak. L’art est une parole”. For that, the issues raised will be to approach with perspective of history of art, anthropology and museology. By the museography developed, the museum share with public his commitment about didactic discourse that it would like transmits. Choices done for the exhibitionary process and his context determine the object definition that is in the museum. The musée du quai Branly is a special case. Promoted to the rank of museum of “primitive art” at his opening, it exhibits ethnographic objects came to Africa, Oceania, America and Asia for them aesthetic qualities. Far away to our western precepts, the challenge of this museum is to report on object’s history. The example of kanak artistic expression raises an issue insofar as it takes the form through intangible resources.